1935 -1 7
DEVOTED TO TH E INTEIlESTS OF THE Mandolin, Guitar and Banjo OFFICIAL ORGAN
OF THE AMERICAN GUILD
OF Banjoists, Mandolinists and Guitarists
VOL. II. 1l0 STO N, OCTOBE R, 1909. NO·4·
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DET~OIT CONSER.VATOR.Y MANDOLIN OR.CHESTRA. Thl. oreh •• tr. wa. orlllanl •• d In Oclob.", 1908, aQd h •• a l"•• dy mad •• v.r ,. f.vorable Impre.alon In De troll mu.leal elrele •. Durlnlll ih. pa.' •••• on Ih . oreh •• I". wa. In 111" ••1 d.m.nd ' or eone.rt work .nd the r.cepllon. lendered II wer e proo' con c lual •• thai tb. mo.' erlllo.1 .udl.neea .1wa,.•• njoy the eh."mtnlll e ff.e t. orr.".d b,.. w.Ulr.ln.d m .ndolln orehe.lr •. An allraell.e reperlolre of 1II00d ••Ieellon. I. b.lnlll .equlr.d and un de" the e . pable le.dershlp of Ale.ander O. '011. who. b .,. the way. I. an ••eellenl m.ndolln· I••• Ihe lulu". welfa". 0' th. oroheatr. I. mo.t c.rtalnly •• au".d. Th. m.mb.rs .r.1 MondoUn •• /Iot.adame. H . B . Hili. Way Mltehell. MI•••• LIIII. n Squlr •• H lrrle t D.vy. 5,.h'la M. lhlld. M.d• • E. POlla • Nlnnl. Soeall. /Iot ••• r • • Alexande" G. Polt. Har r,.Olb.on. Ev.r.1I N. Shahan. O,orllla L everen ll. Auslln C . D. le. 1\. 8. J ohn.on. William Sunl.YI Mandola, H . B . Hilil Gultare. F"onk Wrllht. Arlhur Wrllht; nule. N. Dond. ro: p lano. 1141 .. Glad,.. D.ndell. (
4 Tbe Crescendo THE MANDOLIN ORCHESTRA By Herb.r~ Forrell OdeU
(Conltnutd from SepttlllMr CClESCENbOl must know its peculiarities, its tone color and its power, The violon- cello is usually the otherwise 'cello parts in his arrangements will predominate VIOLON.CELLO next obbligato instrument to be added in tone power over the man10lin. There was at one time to those already mentioned, although an understood rul ~ in regard to the 'cello in arrangi ng for in some orchestras where there is a manda.cello, it is not the regular orchestra which was "don' ta ke the 'cello necessary toh ave violon-cello or vice versa. In many away from the double bass part unless you have some pieces the violon-cello plays practically the same part as thing for it to do." This rule may still obtain to a ct' rtain the manda-cello. In large orchestras both in !»iruments are extent, but a new rule in' use by the more modern com frequently used. The violon-cello, having such a tremend posers is "find somethi ng for the 'cello to do or om it it. " ous carrying power, m.ust be very carefull y played in If a mandolin orchestra cannot have in its instrumen mandolin orchestras. In an orchestra of Qrdinary size the tation a mando-cello it certainly should have a violon-cello 'cello may well be played with the mute thus reducing its but it woul d be better if it could have both instruments. carrying power somewhat and bringing its tone into closer The correct use of the 6anjo in a mandolin balance with the mandolins. The lower tones of the 'cello BANJO orchestra is a complex question for any director when playing on the \.lass notes with the guitar or piano to decide. The b.1. njo to a certain extent, are very powerful, ,therefore a 'cell o player playing in the represents the brass section of the regular orchestra but mandolin orchestra should not play with his full power but yet as used in the mandolin orchestra generall y does not play should always keep in mind the fact that the mandolins do exactly the same part as the brass in the regular orchestra. not have the carrying power of the regular stringed As a matter of fact, in small mandolin orchestras, the banjo instruments. may well be om itt e~fr om the instruments used.. In large An excellent effect is to play the 'cello pizzicati when orchestras, however, numbering from ten instruments up, playing on the bass note~ with the guitar or piano. Another the banjo is very effective on Obbligato parts providing the good effect is to have the 'cello play long low sustained bass parts are carefull y arranged and the instrument is used notes, especially in pieces to be played softl y. FrequEntly wi th judgment. A peculiar pOi nt about ba njo players in the 'cello may be employed on the important counter strai ns general is the fact that they always seem anxious to play whicjl are in the mando-cello parts. It is in this kind of a louder than anyone else. The instrument is capable of pa rt that the 'cello is extremly effective, its beautiful sus producing some very fine soft effects and 1 often wondtr la'ned quality of tone bringi ng out the counter strains so why teachers or orchestra leaders allow the tone of this nicely. instrument to stand out SO prominently when used as an In a medium sized organi zation, where the r ~ are both obbligato for a mandolin orchestra. mllndo-cellos and violon-cellos and a certai n prominent In many orchestras the banjo is a llowed to play on the stra in is to be played by both of these instruments, I fi rst mandolin part thus doubling the, melody usua ll y an believe it is sometimes better to omit one or the other of octave lower, .the mancl.olin having the sustained quality of the two instruments for the reason that the tremolo on the tone and the banjo a sharp staccato t~n·e. This is decidedly mando.cello unless performed by a most proficient player incorrect and.l believe is one of the ' reasons why many will .be heard very plainly against the sustained note of the musicians hearing a mandolin orchesya with fi~ s t banjo 'cello. If the parts are different, then the picking of the playing continually on the mE'lody P4it do not give more mando-cello is not heard so plainly. The carefully made credit to the possibilities of tre mandOUn orchestra. The mando-cello of today is very similar in tone .quali ty to the banjo may at times in quick loud straibJ pl ay with the fi rst regular 'cello. In an orchestra of from 2S to 30 players, mandolin a measure or two at a time but as a rule it is two or three mando-cellos and one or two violon·cellos much bettt'r to have the banjo plaY. a counter strai n or playing toge ther makes this section of the orchestra very a characteristic accompaniment obbligato. Used in this strong, and the sustained effects which may be produced way, the instrument becomes a useful adjunct. In marches by a number of these instruments are indescribably beauti or pieces of si miliar tempo the banjo is very effective when ful. One of the most interesting numbers for a concert used with rolling triplet accompaniment, appeggio or ordi program is a violon-cello solo with mandolin orchestra nary bass and after beat accompaniment and occasionally accompaniment. A solo of this kind is now and then to be the counter strain in the mando-cello part or 'cello part may seen upon the programs of our leading mandolin orchestras. be played on the banjo with good effect. The counter The old fashioned 'cello part written by the old strain should appear in the banjo especially when there is arrangers is fast disappearing. It was customary 2S or So no mando-cello or 'cello in the orchestra. Unfortunately years ago to have the 'cello play the double bass part many arrangers for full mandolin orchestra understand only practically all through a composi tion, but as the instrument the mandolin family well or the banjo family well and in came into greater popularity, the parts began to be more trying to arrange for full mandolin orchestra, theyfrequently interesting and it is in the Obbli gato and counter strain spoil the effect that might be obtained from a good com· effects that the careful arranger of today excels. As in the position by not carefully wielding the va nous parts together case of the flute the arranger of a 'cello part should under. l:1to a perfect arrangement. stand not only the mandolin but the cello as well. He (C.onllnll" In Novtmber CItISCE/'IDO) • The Cre.scendo Valuable Points on Teaching B!I c. S. D eL c1I1I. o. /
In the present article I shall not dwell on an y definite and in this way by showing me the number of hours given rules in teaching, but mther gi ve some of the methods I to their work ellch week, they at once tnke pride in making employ, all of which have been lea rned by years of as good a record as possi ble. If you have two young ex perience and tried w ith marked success. pupils about the same age and adva ncement, arra nge thei r J consider teac hing an art and by no mean s possessed p.Ji[iods to follow one another. G i ve them the sa me solo by all who are performers. The instructor must, first of all work and use 10 minutes of each period in drilling them be possessed of three requisites : first, the art of impart. toge ther with your accompa niment on the guitar or pi ano. ing in it co ncise and s im p l ~ manner his knowledge to others; L.: se all means possible to keep them interested. I invite second, a thorough knowledge of the subjects to be dealt parents of my younger pupils to attend the first lesson and with, as a make-believe instructor in any line will soon be to come with their child at least ont:e a month so as to keep f ound out by the pupil who w ill do more to injure his in touch with my methods and this way tht!y ca n bp of business in a few words than he can regain a many months; great help to the pu pil in home practice. third, a degree of patience and tact to handle peo ple of Among ex treme nervous pu pils you will fi nd the ones different ages and temperaments over whic h he must ha ve most easily discollragt'd. Neve r spea k of thi s timidity or perfect (antral. I have often hea rd it said that all a certain nervousness, be ve ry quiet with them and in all ways teacher knew was his music, and that he had no knowl. see k to keep their mind on their work and from themsd ves. edge about genera l business methods. If this is so with I make it a ruteto take lip in allles50ns the exercises first any reader of this article, stop at once and broaden out. following with solo work an d ending the lesson with some Get informed on general topics and run your teaching on a selec1ion they ca n play well for if a pupil who is easily strictly business bilsis. First of all impress upon your pupils discou raged fi nds at the end of the lesson period that he the necessity of promptness in attendance to lesso ns and be Ciln pla y something well it gives hilll ..' encouragement to j ust as particular yourse lf. I ask my students to come a come better prepared the following week.. • little ea rly , thus having a chance to rest in my reception I find the first two months' the most discouraging part room before taking up the lesson and at the same time of all students study so I impress on them that the fi rst few ~llI ow in g for c1 elays in street ca rs, etc. lessons are necessa rily less interesting than those to follow No matter what is the condition of a teacher's health or and this way they know what to expect and have patience disposition he should never give way to temper, thus to await resu lts. ';:lIlge ring or discouraging a pupil. I ha ve often co rrected 1 have known teachers to actually decdve pupils as to wea k points in pupils by telling them the sa me Oll l'S in their progress, leading them to think they were doing. g.ood others, but never mention names, in this way your mea n work when in rea lity they we rt: not. This is wrong and ing will often be takt'n with mar€' strength than if aim ed great injustice to the pupils. 1 am sure to enco urage Illy directly at U;em and w ill as a rule cause no offense. O n the students when they do good work but j u!'t as quici.; to Gtll ot~h a nd I believe direct criticism to an indolent pupil an their attent ion to slacl.; habit:- of practice. .\\:fn y pupils ab lute necessity in many cases but it shou ld al ways be have no regular periolls for work and the result 41 1 th is is do e in a pleasa nt manner. very appa rc:' l1t in their progress. . A pupil on entering the studio should al ways begrt'eted The majori ty of students do not 1001.; at the study of pie antly by the teacher and a few words of conve rsation music w ith enough se ri ousness and in stead of making regu. indu ged in asi de fl am the lesson. Then proceed at once lar periods for pra ctice they do so w hen they ha ve a few t o the instruction avoiding all subjects but the one in hand moments to spare and the result of this kind of study is as your pupils want what they pa y for, musical instruction. always disastrous. I impress upon them the importance When the lesson is over if you ha ve time, spend a moment of a time sc hed ul e an d to let nothing but sicknes..o.; interfere .socially with the pupil, thus giving the impression you are with practicing at Ipast ten hours a week for one lesson free with them as a friend but during the lesson observe and 2 to 2! hours pe r day on two lessons per wee k. This strictly the dignity of one who has a superior know ledge of will surely give results. I do not favor a pupil practising the subject in hand. in advance of the lesson assigned as in a majority of cases I have found that children from the ages of 10 to 16 the work gi ve n them is not properl y learned. One of the and extreme nervous people require much tact and experi . hardest things all teac hers have to contend w ith is to com· Ence to handle. All children as a rule start their lessons pel most pupils to wa it for a solo se lec tion until they are with mu: h vim and great expectations of being good qualified to take it, for after the first piece is given them, performers in a short time and are utterly devoid of the it is rarely the case that their desire for practice of exer· seriousness of study and the time required to perfect their' ci ses does not slackenj so postpone sheet music as long as playing. For two or three 'months they work well and possible. when their study ceases to be a toy and assumes the The class and grad e o ~ music to be given is a stud y in reality, it is here that the tact and patience of the teacher itself and must be suited to the age, advancement and i s taxed to the limit. I have furnished my young pupils temperment of the student. Try and educate your pupils with time books in which to keep a record of daily practise to a desire to study good music. 6 The Crescendo Classics in my opinion cannot be properly interpreted do not like the mandolin and to hear some attempt to play by students until they are of sufficient age and advance- it with the disagreeable slapping sound prod uced is certainly ment in study. However. expression and phrasing should an argument aga inst the instrument. This is caused by be taught from the beginning and this will lead up to the laying the plectrum on its side sla nting from the player and rendering of the better class of music. Playing with pupils in this way too much of the pick strikes the strings and is is often a great aid to correct bad time, but if done too the cause of the disagret:abJe tune. much will be decidedly injurious as they Jearn to lean on Many pupils claim they are putting in a definite number your help and oft-times your playing covers up mistakes of hours per week on their instruments and the resu lts do made by them and not noticed by either the pupil or your ,,: not show it. If the teacher will inquire into the cause', he self. will find as a rule that the pupil puts too little time on Insist on your pupils counting aloud all work for 'at exercises and too much on solo work. He also buys at the least six months and you will find good results will always stores the latest popular music and spends more time on this follow. An excellent method to be employed by the pupil than on his lesson that has ~en assigned. and one which I have u~ d for many years is to require Advanced pupils have met with much discouragement the pupil to take a pencil, point to the notes in the lesson in the study of the positions and w ill tell you they learn a and cou nt it, moving the pencil over the notes in the exact position one day and forget it the next. To aid in this work time in which they expect to play them. My method of I urge them to com mit first the lower and upper limit in getting quick results from persons whose principal fau lt is eac h position whic h makes the intervening notes come poor time is to take an exercise or some tuneful selection much easier. For instance in the study of the 4th position they have never tried, but which is within their ability. on the guita r I have the notes across the 4th and 7th fret Have them play this at sight and at the s.1 me time learned well before, the other notes are attempted, this of accompany them on some other instrument. but in no course to be done in connection with the position scale event play the same part with them unless they are work. entirely unable to carry it alone. In one case I reca ll a One of the faul ~ most commo n to pupils is what I shall gentleman who ca nie to me a good reader but very poor in call reading by location. For example. a pupil when asked time. I not only irt.six weeks corrected his poor time in from the music to locate a certain note on the instrument this way but increased his readi ng 50 percent. I think. I will do so read ily. but if the instrument withou t the music dare say without fea r of contradiction that not one pupil is given and the student is asked what a certai n fret on a out of twenty -five ca n tune their instruments quickly and given string is. they are unable to tt'll; thus they associate accurately. Part of this is due to a lack of natural talent a certain line or ~pace on the music with a certain loca tion on 'part ~f the student and pa rtly to the fault of the teacher. on the instrument. but' have not made a study of the Impress on your pupils that practisi ng on tuning is just as instrument independent of the mllsic. This leads to serious . important as any part of their lesson. I have often at the faults and when the advqnced work is reac hed it is here end of six wee ks or two months when I fi nd the tuning is that the pupil must stop and go back to elementary work not coming to the student. given an entire lesson on this until the notes on the finger board as far as they have gone subject with excellent results. Have the pupil tune to are perfectly learned. At the seco nd lesson I am ve ry your instrument for a few lessons and then teach them to careful to point out this fault to my pupils and caution them tune independently and keep them at it until they are pro- about it. At the thirdJe-sson I question them as to location fi cie~t, as an instrument out of tune does more to disco.urage of the notes on the instrument aside from the music and a plipil than a difficult lesson, have them not only tell me the notes by name. but give The tendency of many pupils in begi nning is to be the octave location. I have them go sti ll farther and stud y impatient as to the resu lts of the work and this leads to the notes with!)ut even the ~id of the instrument thus mak practising faster than they can acquire correct tone and ing a mental picture of the fingerboard. If this fault is fingering. I impress upon my students to never sacrifice guarded agai nst in the start a pupil will make easy work tone and expression for speed and noise and to practise of the positions as they lea rn to play by reasoning out the slowly until correct methods are acquired. Right here notes and not by location, rises a point in mandolin instruction. The av~rage pupil A few words now as to a teacher's personal talent learns to place the notes with the left hand much sooner which I have already touched on. Don't teach unless you than they acq uire the tremolo with the right so to over- are well qualified as your pupils will soon fi nd . you out. come this fault I caution them in counting to do so slowly Don't teach unless you are at least a fair performer your and in this way the right hand is given more time for the self. I make it a rule after giving the first lesson to play for tremolo work. I believe the only correct position for the my new pupils, as it strengthens their confidence and gives wrist in mandolin playing is the elevated, with an entire them encouragement to commence their study with vigor. relaxation of the wrist muscles, and if my pupils do not I always arrange if possible, to gi ve an ex tra 15 minutes at acquire this in a reasonable amount of time, J have them the first lesson to allow for this. I advise playing for make a fl at p~d about nn inch and a half thick and three pupils occasionally during thei r course of study which goes inches long, stuff with cotton and place on the strings back far to keep up their interest. of the briClge. On this rest the wrist and continue in its A question is often ~sked how soon should a pupil be use until it seems natural to use tl le e l eva t ~d pos iti o n~ whe n . allow ed to play in public. By all means do not push a its use may be discontinued. Th'ere are man y people who student forward with this their onl y aim. First qualify =
The Crescendo 7 them and when they have learned several selections well, program is made up of selections by my advanced cl ub of and have pJayed,them se vera l J im es before friends it is mandolins and guitars, ba njo cl ub accompo nit'd by guitars then time to encourage public appearance. It was my and second hanjos, my orchestra of so ad vanced players privilege this spring to give a recital wi th 14 pupils who and a guilar cl ub. This J intersperse with solos, duet or had finished the course of study on their respective instru- quartette selections and one or two good assisting numbers. ments. Five of them I selected for solo work. I found J ust a word as to how 1 seat an ort: ha stra of 50 players. I some of them while preparing their selections to be quite place them in three semi -ci rcles, one inside the other, plac. nervous. Several rehearsa ls were held at w hich all the ing 9 in the first row, 16 in the second and 25 in the third. class were present. I had each soloist play their selection IW his wa y the direc tor ha s every player almost directly at the rehea rsa ls before the membe rs of the cla ss, and at in fron t of him and excellent results are sure to follow. I the first rehear sal much nervousness was show n which place my strong mandoli n leads at tht! end 'of each row lessened the se.:ond week and gradually disappea red oefore f:.tcing the audience and my. strong guitar players in the the recital. J advise a pupil never to appear before an back center of each row. The wea ker players are placed audience without first playing their selection before'several at the sides of each ci rcle. I am ve ry careful to prepa re f riends, and have always followed this rule myself. Many each pupil thoroughly before calling my rehearsals, three t eachers are unfortunately nervous in public appeara nce and of w hich :u e sufficient to gua rantee perfect on:hestra work. I will say that if the rule just give n is followed, this can I wish before closing my article to speak of the decline of and will be overcome. I shall nevt!r forget the reply th ~ business in all branches of teaching the prist two years. I great Kubelik made when asked if he sufferecf with ha ve ht'ard very d.iscouraging reports from the eastern emba rrassment. He replied, "I ca nnot afford to be nervous ci ties. Shall we as teac hers sit down and say it cannot be in public. " Think of this when you go before y our aud. helped or sha ll we ba nd together and do all in our power to ience and see if it does not aid you. restore our profession to its former fi nancial basis. 1 con- Neve r expt!Ct a pupil to play w hat you ca nnot yourself sider three reasons large ly re-sponsible for the dedine in and if you are not qualified for solo playing get to wo rk at business. First, the ever prese nt fa ke ma ndolin school, ()nce as it is the greatest possible ad vertisement for a which is a disgrace to the profession, second, the mechani. teacher in my opinion to be a good perform er. cal dev ices such as ph o nog r a ph ~ and talking .....1.c hines ;lOd From a financial stand point teachers should ha ve a good third, the desire of Americans every year to get quick club as soon as they have pupils well qualified. It is a results w ith the least possible effort. great encouragement to students and will be the direct O n the Paci tic coast we have had a biltf" r fight with mea ns in many cases of getting new pu pils. I ha ve had the fake sc hools where they ha ve been operat ing fo r the many pupils apply to me for instruction w ith the desire of past eight years. The sc hools have not only c h t'ape n ~ d getting into one of my clubs, and thus appea ring in conce rt instruction but ha ve!'>O Ji$gusted hundreds of pupils that work. they have no desire to co ntin u~ their study even with a good instructor so completely ha ve they bee n defra uded by A poor cl ub will positi vely injure a teacher's reputation these graH ers. as you w ill always have some in your audience who know I cannot commend too highly the a( tion of the America n w hat good music is and by these you will be ce nsured if G lIild for inserting in its by-la ws a cla us!.! whic h prohibits your immediate friends who wiJI of course mak e all no~y anyone from becoming a member w ho is engaged in this Tbe NI.Dtb ADaue' COD ••fttlOQ and CODcart will b. beld ..t be furnished. In this way a hea rty co-operation of all is Tbo Na. Audltol'huD. Nawark. N . J .• und.r Ih. man.l1omant Df created and expenses reduced. Now we are all ready to A . J . Weldt. Ih,.ln ••• COln'.aIiOD opan. Mond.,., Aprl135tb., at to A . M .. . ad coaUDu ••: Noada)l' and T ..... d.,.. CODc~rt T .....d.,. shake hands with our President or ~ve n Kings and Queens, ."•• 1110;. April 16tb. Pul th ••• dat•• I.ft )'our book. Watob lb. but busi ness before pl easure is a good rule, there is a great ere.cando '01' full particular• • deal of importance and profit to be gained by conventions if ----- enough time and thought is give n to them. As some con Fellow Members:- ventions are (onducted auto rides, sightseeing and grea.l The most prosperous season in the history of the ban. hotels seem to form a ve ry important item. Taking Our jo, mandolin and guitar is now here. With the increased own conventions , it see ms as tho' the treasu ry should in intt:rt"St which is so ev ident In our instruments, there is no crease as we are getting,stronger and so should the receipts reason in the wo ~ld why the membership of the Americlln from the concerts. It seems as if all unnecessmy expe nse Guild should not go to the 500 ma rk within a short time. shculd be eliminated, the concerts would be more profitable W e have nearly half ofJhat number now. Several circulars ventures. If we remain true to our music and arra nge our are be ing mail(>d to every member of the org;a ni zation. conce rts SO that all the members will play ensembl e as much Those circulars ex plain brie fl y what the Guild has done as possible, I am sure much pleasure and profit will be and what it will do for the new member. It also gives gained by the members. Surely the Guild should have a complete list of the members up to Sept. I. It is hoped enough players to furnish a good program and with all that the prestnt members of the Guild will give th ese cir. taJent donated a neat profit should be rea li zed. culars to people who would be interested in joining the We need not worry about manufacturers and the trade, organization. The Guild has made possible the prese nt it is ou r duty to uplift ou r three instruments and when a interest in the instruments. There isn't a bit of doubt desire is created the manufacturers and arrangers simply abou t it and it is conceded at all times that the missionary have to furnish the goods. work the Guild has done among the profeSSion has been I urn afraid we are g:e ttin ~ a litlle asthetic in ou r the means of keeping alive the interest in the instruments convention matters, guod business manageme nt and during the bad times and will now create a new interest for good music is what we need. I did not attend the last future times. Thousa nds of the circulars referred to have convention as I coa ld not see where I should receive been spread bro..1dcast throughout the world but it is the enough advantage to balance with the necessary expenses individual follow-up of each member that is going to of such a trip. I am sure I am not the on ly member who bring in the new m e mber ~. Again I ask eve ry member of feels this way about it. the orga nization to m..1ke it a point to interview one, two or Having been a member since the first yea r of the t en people and invite them to join the Guild Sitting in ..1 Guild and an earnest reade r of the M. B. & G. magazi nes. a chair telling what ought to be done, will not help. Go I feel that I am entitled to render a few ideas that have ..1nd c..1 11 on the prospective member, get his ..1 pplicntion and been haunting me for so me time. It see ms as if a few forward to the Sf,:creta ry. If you have foun d membt:rship points could be noted that might be of advant..1ge in· the in the orga nization a benefit, others will do the s..'1 me. Tell management of future. them about it. Explain why. Do so mething and do it now. With best wishes for the adva ncement of ou r "three " Don't wait until the next convention. and the Guild; I am A member ca n join the Guild now at practica lly half Sincerely yours, price. Put on your hat and coat and go to see someone Union Springs, N. Y. VERNIE YATES. and tell them about this matter. Explain the advantages of being a member. I am pleased to say that we have members S£C RII'TARY'S NOT£:-I alii ~u ,~ II Min ValU wtluld all~nd the nUl (o nw~II' in England, Australia with several appli ca tions pending and dGn ,he .... Guld allend all fUlure cGn .... nllGns. ThGse who.lll fi' ~ 1 thGul:hllhey ....oulJ nG I obl.ln enGueh Mnefil .re nG..... teul., .utn,bnls.1 (onwenllGns . nd ,d sG CGllle ha v!: just received an application from Japan. • day Gr IWG belGre and Slay .. wuk. We Shall be plusd 10 see M in Vatu allhe Several remarked at the last convention that perhaps nUl cOf'/vtnllOCl and. 11,1 hur her speak upon Ihut subjects. it would be ju ~ t as well to give attention to getting memb· ers in this country as we.1I as in others. Very well, do It. Don't talk abou t it but do it. Get the members, that is Joseph Wright, 206 High St., Chri5tchurch, New what we want. Let us m..1ke Our sloga n for the coming Zealand, has been appointed local Secretary of the Guild se..1son .. 500 member.!." I will get my share of the for New Zea land. The Australian loca l Sec retary is members. Will each of you do the 'same ? Walter J. Stent, Sydney, N. S. W. A Letter from a Member. Guild pins may be obtained from the Sec retary for 75 cents each. The pin is made of fed and white enamel and Dea r Sir:- After read ing the report of the last co nve n ~ gold plate. It is about the size of a ten cent piece, and is tion of the Guild, I see the profits were )) 19. 75 and after very neat and dainty. Nea rl y every Guild member wea rs all his untiring l'fforts Mr. Abt refused to accept his sha re one. Do you? or the t>rofits would have bee n considerably less. Now isn't H. F. ODELL, Secret."y-Treasurer. t hat rather hard? As a member of the Guild I do nett want to be mi sunderstood in this com mu nication and then the members will ~ i ve consideration and not criticize me too Recent New Guild nembers severely, for I do not wish to find fau lt. In my experience J well understa nd that· after deciding upon the place for a PROFESSIONAL convention, it has alw41ys been a puint to properly lay the R. A. $chiller ...... 216 Ptnn Block. Riverside, Cal. matter before the people of the chosen city and then to Alexa nderG. Poli . . · 409 Canton Avt., Detroit. Mich. approach the officials of the municipality and build interest J oseph Wright ..• '206 High $t., Christchurch, New Zealand . in many ways, such as concessions of financial interest and ASSOCIATE informing the citizens that may so desire that ed ibles may Bruce J. Milts ...... Fremont, Neb. The Creacendo 9 Prominent Guild Members. Crescendo Round Table For Teacher., Pla,.er., Dealer., "".nuf.e.ur .... and Publl.h • A Member of the Executive Committee. • ". "n,.on. m.,. eontrl.bute to I.bl. departm.nt Storl •• Poem., Id •••• Opinion., S.nd In .n,.lhln. ,.ou wl.h onl,. p l •••• m.ke It .horc~'._____ =====- ____ --, " .ood thin. I. bound '0 .ell, bUI ,.ou mu •• ,. 11 p.opl ••bout II, ther.for. ad"ertl •• and keep .d".rUaln • . From a Subscriber. Syracust', N. Y. ""'Edito r CRESCEI\OO: tfforts ~tar~~ghr:~I~ ~~ru~~~e;fd: Ke ~~~iftE~g~ f~~~~!~~t.b~srr~l~~ and finall y get near th e hearts 01 the grellt guit:tt anJ m:mdolln ~r:tt~~~i~~at~Jr fl~~~~~i~r 'tl~edfn~I~~~~~:~~.!h~f~f:~~!Y\\ , ~~O ~~~~i °ti~l~ It necessary to apply their energy to sOllie olher PUrf ult un til when the day's work is done. they lurn tu their beloved instrument for sympathy ami fllld rest for the:nselves and if they are proficit'llt itrformers, probably find their lillIe world the ha ppier and be ll~r , m~~~i~tn~o~f~~~~~e~s t:ha~ ~~~~die~~~~~se \~~~t~~la~i~\~iJ:t ~~~, e~lass of I have not rnis s~ a numh~ r of lho= Cltt:SCENDO SIllC~ its !'Ie· ~~~n!h~\~~~n~;~~~ t:~:~~s\!~~~:n;\:Il~ l~I~~r~i:~~ f~lr~'e;;l:',lg O\~ ~ m;:~ especially s«rns to Hnticipllte and enlilthten Ihe \'~r\' cuhject one wou ld naturally ask al'oul. Your treatment of t'he' ~ul'ljt'.:t of Instruments for mandolin OI.:hes tr:t is of ai-sor"ing illt~re!'t. Tht': Mticles }'UU prornbe us written hy Mr. lJurk« :lIlj other practiclll men whom we luve to thank for tht" bt'st in the instru· mentS toJa),. should mal these publishers among which may be mentioned Oliver and players is one entitled U Thwarting Stage Fright II by. Ditson Co., White.Smith Co., Gibson Co., H. F. Odell & L. A. Williams, a gentleman of much experience as a C o., Wm. C. Stahl , Cundy-Bettoney Co., D. Acker, L. A. player, teac her and sales manager. Another article Williams, Walter Jacobs, Percy Jaques Pub. Co., and uMandolin Technic" by M. A. Bickford will shortly appear many others. The management and direction of a mando· also "Musical Freaks" by Edward R. Day. lin orchestra today is much more interesting than form erly on account of this fine music which may be obtained and . Readers are advised to carefully read the advertise also on account of the general introduction of the tenor ments in t his issue. All the new music is listed and also instruments, strings and fittings. An entire winter's supply mandala and mando-cello, another American idea, in of material can be obtained from these ads. and what's mandolin orchestra, thus giving an almost perfect instru more these firms uhave the goods." Just mention CRES mentation. Our instruments and our music are bei ng SENDQ when you write them. r The Crescendo " PROGRAMS OF CONCERTS AND RECITALS Pro. ram of Concert recenll:J i lyen b y the Imperia l S,.mpbon,. 4 Songs- "Border Ballad" . CO\Hn Club 1.1 Lamoni, Iowa. I :. Overture:, "Poet and Pea sa nt"...... Suppe " To Mary" . . While b "The Trumpeter's March" ...... Masch:. "The Sea Gull" ...... Miss Laura Zerbe (.'O Ill,) OS ~r 'ft til e J>illIlO Im perial Symphony C lub Mr. House 2 Mandolin Dud, "The Idol of My Heart" ... · ' . . Stahl S Guitar- " Angels Serenade" . . Braga·DeJallon Messrs. Anthony nnd Nicholson Air Irom " La Travlat;." . . Verdi·Ferrer J Baritone Solo, " A Night Lullaby". . . . R. de Koven MissOlco:t Frnnk D. Jones Songs-"Gipsy Love Song" . . Herl1t'r t 4 Sel«tlons from Tnnnhauser ... · . Wagner " Ben Bolt" . . . K ne:lss Imperial Symphony Club "Two Grenadiers" . . Schum:lnll Mnndo·Cello Solo. Inlet, "Cuvallerla Rustkana" . . Mascagni Mr. House J oseph H. Anthony Pro,ram or Mua lcale , Iyen al Sa" Franclaco under Ihe dlrec- 6 PIeri rum Quartet, "Annie Laurie " ...•... Arr. Gutman lion or Samu e l Adelateln. Messrs. Anthony, Jonts, Nicholson, Hatcher a "L'Esprit Francais" March· ... EdouarJ Mel.lac:lpo 7 "A Trip Down the Mississippi" . . Martin b "Le Balser de rn a Mie"-Andantino Scherzo. . Monti c "Mandolin" Serenade Espagnole- Op. 6S • . 'rhome Guitar Duet. ,.i~~~~~~ ~~fT'~~OI~Y ~Iub . Boehm M:lndolin Orchestra Messrs. Nicholson and Anthony . & hirn b~~fff;;~~~n~~ih't'; .' · . Buhn 9 M:lndollo Solo. "Deluge des Fleurs " . · J os. Albin Mrs. L. Le Page Ray K. Nicholson a " Bolero"-Op. 14 . _ ...... • de Chrislofaro Impersonations. (a) " Her Folks an' liis'n" b "Pr:I)'er"-Mandolin Solo. unaccompanied . Ellinger (b) .. Jf I Can Be By Her" . . Ben King c "Mignardises"-Polka di Concert . . . . . Mell.acapo Frank D. Jones Miss Lois Bolton a "Chant du Soi r" Melodie - Op. 4 ) .. . . . Edgard Bara I I "Lady Dainty" .. . Odell b "Faust" '~ imembralll.e . .. _. Gounoo·Gri,,!i:llli W:llter I m~rllli Symphony Club C " Pomponette" ...... Uur:UlJ Mandoli n Orchestra N. J.roiram i lyen a . t h e Commonweallh Club, Upper Mo ntc; la lr. Songs a "MOil C oeur S'Ouvre a t3 Voix "-Sam\on d Odila . .. Samt S:Iens I Knickerbocker Quartette b "Lull:lby" . . Stdani Harry W. Jones, First Tenor Charles E. Fach, Baritone Mrs. L. Le Page J ack L. Sturges, econd Tenor Edward R. Hart. Bass Mandolin Ouets a "Notlurno Mel:lllconico " - Op. 68. . Carin Munier 2 Banjo Solo- Overt ure to William Tell . . J ~ oss ini b "Teml>O Ji Ma w rkll" Conceno...... Sylvestri Harry S. Six Mrs. C. J. Bauer Miss Lois Bolton ) A Terrifying Tragedy. " 'lager Br'::lSco mb's Revenge" 1 Songs- a "Eri tu che Machiavj" AriOl-Un B:l llo en M:t!'..: hero J . Deem s Taylor, Aut hor anJ Actors VerJi 4 Trio-Overture. Troubaoour . . Pomeroy b "Out of the D:lrkness" . .O'H:Jrdelot Mr. Harold Prac ht Dance of Ihe Flowers. . BT:lun ei~!' 8 Lule Solos - :1 ., Mun Heve" Pens-iero MeloJica- Op. J2 . Bidera I\hndolin. W. Edward Foster; Mando·Cello. Ha rry S. Si x; b "Liebe:;lr:lUm" Nocturne . LisZI· Munier Harp-Guit:lr. Valentine Maurer Mr . SOI IH ud AJelstei n S Knickert'lOCk er Quartette C) u "Scren:lde B"Jine . . .. . _. . . . G:.hrie\·Marie {; fgl.llmot Instrumental Club ~ ::g:tl~a~l~ : : !~ ~,~:~~~ ~~ ~=g~~~:r .leTln: - . O~ . " ~j.. M a~i!~lli · W. Sittzer W . D. ~ewlllall T. M. Alexander ManJolin O r..: hestra · Kllth3u T. Pderson H. E. Nichols Pro'ram nf Concer t .Iyen a t 114 u,..,III., 114 0 .. under dlrecllon 01 · Harvey C. T. Alexander H. Englebrekt Mlaa Alma Naah a nd Mr. Bacon. Harry S. Six, Oira:tor PART I 1 C b Swinging Under Direction of Aim" H. Na!'h George A. Flynn. N. Y. U. (Intercollegiate Champion) Overture- Ught Cavillry ...... Lyric String Quartelle Banjo Solo-" Black and White" . . • . Botsford Cornet :lIId Trombone Duet. Ha.rry S. Six Mi ~s Jeannette Sw"vtl), anJ Hal Hook er 9 Pianologue Ba njo Ouet- " Home City Gallop"...... NeiJI J . Deems T Jylor Mr. Laurance Shanks and Miss Nash Descriptive O verture- "A Dream of Fairyland" ... · Amsden Mandolin Solo - D. Minor Concerto. . Stauffer Lvrk String Quarlelte Andante, Con Moto, Allegro Assai Sleigh Bell So lo. ManJolin Cluj> Ace ...... Selcctal W. Edward Foster Mi ss Nash lind ~yric String Quarteue J I Moving Pictures by Bennett Fishier. A Jolly Sleighing P:ttt~t;II'ftiar;d~lin' 6r~ h;s tra' .... E. Rueffe r 12 Kn~k~~~oke~hQ~~~e\lt~e, "The Commonwealthoscope PART II Accompanist. George Botsford " Under the direction of Mr. Bacon Selection from Faust .. •• GOUiltlJ Pro'ram 01 Poputar Su"da,. CORC;e" at tbe Gamut Club. Loa O rchestra :::J~~~.f:!;;:::!a6~u~r. ~~~·I.~thel Luc;reU. Olcolt, Gultarlal Cornet Solo with Orchestra, "Sweetest Story" . · .. Shultz Mr. Shoemaker I Song- "Serenade" ...... Tchaikowskl · .. Hausrr Mr. House ~:f~n8:! c~ : : · W ienawskl :2 Songs-"Beat U~n my Little Heart"...... Nevin Violin .. Absent I . • • • • • • • • • • • • •• Metca lf a Schulmmerl!d. · Eulenstein 1'1 Love Thee"...... Mildenburg b Concert .. . . . · . Musi n Mr. House Mr. Bacon, Mrs. Bacon Accom. J Guitar- " Ases Death" ...... Greig·Olcott "March Militare" op. 51 . · . Schubert "At Midnight." (Me.dcan Dance) ... Aviles-Ferrer Orchestra Mi., Olcott Mr. Bacon Director ,2 The Crescendo Personal Notes. Questions and Answers. One of our English subscribers. Mr. Frank Pellatt,a prominent This column open to .11. Send In your quutlons. teacher of Ashford, writes us that he 15 very much interested In the QUESTION-Where does the &:ut come from that Is used In mandolin orchestra articles which are appearing In the CRESCENDO maklne violin, guitar and banjo strings ~ C . E. G. and he ,Iso says he Is very much pleased that there Is 50 much fine mandolin orchestra mu,lc obtainable (rom America. ANSWER-We refer th'e questlonertothea rtlcle by Charles 8ob zln. the eminent authority on strings, which will appear in a later Is One of our subscribers, John Gorman of Yokohama, Japan, writes us .5 follows In recard to the recommendation of the Arnerl - sueoftheCRESCENDO. Thisartlclewill explain In detail where the ,ut for strings Is obtained and how the strings are made. Answering f.jnw~~I!~~~vu:r:UI~~tl~~!dnt~ ~~:~c ~f ~t~ ~~~~t nd~~ron~ the question In short. will say that the gut used In most strings Is ~e~~e ~f tt~ee mnoos~ :~::o~,~:t~~~p:f~r ~h~~~nt~r~~~}1 th~bat~j~~X obtained from sheep raised In the mountains of Afghanistan. Rou mania. Sicily. Crete, Bul,ari., Manchuria. Russia. Greece, Turkey. Vice-President D.E. Hartnett of the American Guild, spent the Himalayas and from the northern coast of Africa. ::~t! :~atrhes~~~:o~onu!~'~ ~ ~~hue ~~~rol~d8~~lfis ~fe~f:reth~~ QUESTION-Are there any mandolin solos published especially leg. Blood poisoning set In n«essltatfng a rush for the city .'ter a adapted to the vlbrante? When may the vlbrante be u!>edeffectivelv six mile trip over the trails. An operation was performed at a pri In the banjo, mandolin and' guitar ~ R. E. vate hospital In New York City. We are glad to state however. S. that Mr. H.rtnett Is r.pldly r tCoverln~. The Vice-President Is one ANSWER-We do not believe that the vlbrante Is effective on ~1:~eh~~rt:l~~I~~tu~e: !ino::k~n a tra~I~~~~J!~ a~~d w~iI~~:~ the mandolin. It is generally used only on the soft string Instru his strength shortly. ments and on the mandolin Is employed only as a trick of solo playing and Is hardly practical for ordinary mandolinists therdore tead~:~gAch'f(3~~r o~:~~~a~~Je::'hi~'dl~~tl~~re~nel~r:~~j~::f~~ ~f we will not mention solos In which It may be employN. The vlbrante may be effectively used on the banjo and guitar on almost reo~~~~~I~~ill~n~~~e':I~e~~rfai~r~~~lfh;>~~';.,~~~ ·~re~~lo e~~~ any note of long value wherever desired. It may he easllyover young. A loca l paper speaks of this orchestra as f(lilows: " Every done as the glissando and shou ld only be employed occasionally. number on the really seltet program was recei ved with unbounded For the benefit of those who may not understl1nd YOI' r word enthusiasm and the 13rte and appreciative audience was more than pleased. 'Wonderful,' ~Imply Marvellous,' 'Most Remarkable' vlbrante, we will say ' hat It Is done by movhig the flesh at the end of the finger which has been placed on a certain note up and :e'!:~lz~e~~hc~I:~r~s!~de~~~voe(U;e ~~I~~~ao~ ~h~~II~~:' I~~ili~t~: down or In other words slightly moving the flesh so thl1t It causes musicians, and their train In &: Ilnd comprehensive interpretation as a wavering tone. Violinists use this a great deal. generally too well as masterful rendition of the various numbers was re lt lly astounding, speaking volumes for the institution from which the much. The movement is especially effectiv~ on the guilar on half talented little ones received their musical training. It or whole notes and may be used on almost any fret In any position. A recent caller at the CRESCENDO office was K. Bingham QUESTION-Should alternate fingering be used In guitar Krans of Hartford, Ct., the leader of the Tuxedo Club. This accompaniments of strong rythm where a rapid succession of chords onr;anlzatlon had an extremely busy season playing 100 engacements. This season the membership of the organization Is are to be played, by this I mean sweeping the treble strings alter ~ta~~:~~c~~J!I~~n ¥~: ~~~~~~~rpe thi~~~~~el~K.gB~K~!~~~ nately with the 1st and znd.fingers? W . E. D. mandolin; E. W. Atkins. mandolin; C. A. Zipp, Jr., mandolin; A. ANSWER-There should be no objection to alternating the 1st G . Wood, mando-cello; J . T. Henderson, ha~gultar . Mr. Krans expressed himself as very optimistic in regard to the com In, season and 2nd fingers as suggested In you r question provided the player and Incidentally Cave us his subscription to the CRESCENDO. can do so with an even movement. This method of playing Is not given In the standard instruction books and is generall)' considered more a trick of artistry rather than practical guitar playing. Care ful arrang~rs of gultarmuslcdo not.asa rJle. write .ccompaniments which require a rapidly aiternating of any treble chords because if the movement Is too rapi':! the power of the Instrument Is lost in the effort to play the notes quickly. We however, would advise club accompanists to learn to do thls.so that they may be able to play chords rapidly by aitematin, the fingers when occasion rises. Myron A. Bickford has left Springfield and located In New York havlnc accepted the position of dlrtCtor of the National Institute of Music, 39 East. 30th St., New York City. The faculty of the Institute Is very stron, Includin, many prominent teachers. Further particulars wlll be ,Iven In a later Issue of the CRESCENDO. , ---- C. W . F. Jansen, the well known teacher and play~r of Chlcalo. In renewing his subscription to the CRESCENDO, says. '" am pleased to see the CRESCENDO Is Idtlng better every month." There Is an excellent opportunity for a pro,resslve teacher of the banjo. mandolin and itUltar to locate In Rutland, Vt., Mrs. A number of the profession and subscribers tothe CRESCENDO Alma Morse having left there for a new location In Klncston, N. y. have called In to set us during the summer season. Everyone thus leavln, the field open to a wide awake teacher who would ~wears optimistic about the comlne year. Mr. F. T. Pearsons of W aterbury, Ct .. rtCentiy dropPfd In for a short chat with us and undoubtedly do well In • town of this kind where Mrs. Morse has exprrs5ed himself as very much Interested In the CRESCENDO. already created an Interest In the instrument. The Crescendo 13 TRADE AND PUBLISHERS NOTES. One of the -Ili rgest cow logs of mandolin, banjo lind guitar Gibson instruments are constructtd scientifically 0 11 the prin- musk is publi shed by Clt.rl i"J~ c h er_ It Includes hunJreds of ci ple of the violin . Both the top and the back of the instrum ents standard and popular compositions and also includes alilhe fin e are caused lu vibrate on accou nt of this construction and Ihe in numbers for these Instruments by Lansing, Grover. DeLano and struments h,l ve a loud. powerful and yet sweet qua lity of tone. The others formerly published by Thompson &. Odell. Two of th e re- new model G ibsons Wit h lhe eleva ted guard plate. tilled ncock. ele- t~n~~F.~~sd~~~~I~~~ ~I;e t~~~n~ ~tS~~~~~~sao?;:~~::f~1 :::~r:~ ~~ t~c~~I~f~t ~~l~~o~t~~:~~~ l h!~~ ~~y ~!~ree~l~le ~\~~::f~lg~;!b l: that ever li ved, and ·'Ciribinbin." This latter piece was introduce d ..-nd a re much li ked by th thousands of players who use them . See ~\~\~ t~~e:!:~~1e:!~~ot~t~n~~~!~' S Ag~~r:} o~~~rls C~~~;o'm~d~ oi~ the Oih fw u (;0. article d on page I. . ~I;~e foi:'t:is:~~l~a~:ro~~ ~h'k hT j~~r~d~ : n ~r~h~e~u~i~ ' ~~~~~~ er oln~~e~~r:h~I~O~~~;y ~'l~ti Si ~spe;to~~s P~h~ti; ~ ~ ~ ~rertrl: l lb~~j~l.a1 t above. See ad on page J. ~~f:t~~~'~~::~ ~Ij~~\ ~~~j~~(~~ rftl ~~~~r~h O uld have one. See U. E. The 1..... J . Bacon Co. are maklnJ a special offer of one " G ibson Eminence" Waltz and "The Gibson Is King " Marc h dozen 01 the famous "Never Stretch" banjO 4th strings and one of will undoubtedly be played by all vro,ressive dubs this season. The Bacon's famous banjo marches all for '100. Or they will send an waltz is different from any oth er and the march is one of the best on assorted dozen o( " Never False" banjo gut strings and " Never the market. S« the L. A. \Vlllilt.mK' ad (In insIde front cover. ;t!~~~~. baT~~~~t~:~~:~:~~::C;~t~l~t~~h a~de ~~rb'y ~~~;~: The ~JI\(IUeK ""b. Co . issues fine mu sic (or mandolin :.,"£1 players. See advertlstc;.m"'e"'"-'.Io--,;:----:--:-_ banjo. Catalogs fr~ if you send for the m. See ad on page .... The Tracy Ltbrt'ry will arrange your music qu ick l), :IIlJ alwa;, ~e;d~irs:sme\~ii~gt~~~ ~ : i ~~~~~c~:~~dt~t~t d~r ~~mfy.p I 1h~ reasonably. Sti! ad. H ogen IU uHie H OUK" makes a specia l head also a damp proof head which is sold on ly dirfCt from the (nctory to the ba njoist. All H :lv~ you had "Ohio Field" March? It 's a J and y. B~lte r banjo pla)o'ers are advised to write to ,he Hogers Music House direct send for it. See Uarry s. Six Putt. Co. aJ. (or pr ices and particulars. See ad. Why not aJd a harp·guitar to you r club th is ye:lr. \ V •• J. I"amue l Adc l l!lt~hl Is the agent for a ll o( the Munier music H yor ..~ Bro. wi ll send you line on tri:!1 anJ se ll II on ver y ~asy includ ing Ihe mandolin method and Ihe exeTCIse and duet books so pa yments. See aJ. ~~dl ~f ~t:~o(~~t;~~~i~~nl::~:.heOne !1al~ ~ ~~;;: r c:::~~iti~~ s l ~: The idl!a of co mbi ning a mu sk stand. a 1II11!'iIlSt:lIlJ c:I!'t' anJ a entitled " Lf) vt So n~ ." It Is a beautiful mandolin duo and b r i n ~s in music folio .. II in one sm;11I compacl parcel b indtej:) gre;lt hoon to ~~\tl~rM~. °l;~I~~~~lll~n~liei:\~i·~ c~~~l:~! b(i~I~O ~~!Ie~~ Cr~I:;;~,~ ~~tl~ il ~~~~~lI1eT~~ l~r~rtSy eM::~ IIS t~:~d s ~la~~~(:l c :~: ;~dl b~o~e P~'~(~ III: lection of mtllldolin mu sic in U. S. See ad page 2. Klu,.;I C Stnnd (;0: combines these th ree :trl icl~s III one, :mJ is an especl:lll y desirabl e .m ide. Sre "d. The O lhc r .) ltHo n (;0 . are continuall y adJing e.'(cellen t numbers to their I"rge mandolin orchestra calalog. They will shortl y publish an arrangemtnt by H. F. Odell of the fam ous song. Through one of our prnof reaJer's mistake!' las t month Recent Publications. Reliable-' Publications. With every piece composcr's name Is Riven. a lso arrang Many pleet'S published within the last ten years are er'.. Tbe letter.s .fter namcs Indicate grade- E, easy-no quite as desirable a" new ones. Theae listed are proven nedlum- D, DIfficult. ____ _ aucces,ses. BANJO. MANDOLIN Harry S . Six Pub. Co. Ohio Pleld Mall'Cb Ha,rry S. Six, At H. F. Odell &: Co. L. Clnquentalne GaiJr;,et-Mu,.ie-Arr. H . F. OdelL,.8 A br?gi~tjYnT~: ~stlng 6-8 march in the keys of A a~d·D. Melodi Two Mandolins and Plano $. 60 ous trio. Also arranged for two mandolins. mandola and guitar The only aut h ~ nt lc a rrangem~nt arranged from the orginal ~~~~ib~Ot~~~~tyro~~(U~~~;~:~!Mus~iIIIC~u~~~yed the coming score on th~ market. Tremolo-and pick marks carefully indicattd. Arrangtd fo r full mandolin orch~st ra . Keys of A minor and A. Maximum Pub. Co. Alia Breve, 4-4 time. A standard among violinists and cellists (or Po.m l\u.UQue PauL KilO, M yenrs. An excellent tea c~ing or mandolin orchestra piece. Banjo Solo J .)0 A catchy chMacteristlc banjoism by this well known composer. BANJO Immense for teaching. Full of those cute little banjo effects which H. F. Odell &: Co. ~~: t~l~.r°lt:~so~rt ~r~J~d nB.ot~el~~n;~,bl~h~ a1:;el~~:t o~I~~e ~e~~~d TheNlll hllnllale end the Froll_ E ilw,berA-P. J . Baeon, M mandolin and guitar and piano accompaniml!:nt. Four Banjos S .80 BanJol.Uc:ua Paul Eno, M A clever banjo adaptation of this standard humorous composi- Ba njo and Piano S .75 ~i:;ios .Or;:8o ~i::::. feK'e~~~~~ '6 ,onAth:nr:; G~et A~a~H~ti!~r ::~:~~ D. I ;t~~;ru~~~~~I~ . r ag~rm~:~~tt~~tt;tOa ltt ~li~~u~~e 'V~:yo~~ c~~~ number. Also good for advanced pupils. bound to be extr~m~ly popular w ith banjoists o( a ll classes . Annie Laurie. Varied A,.,.. Ga d RobhllOlf, M MANDOLIN. Banjo Solo , . )0 An excellent arrilnR~'me nt of the old song. Them ~ a nd three H. F. Odell &: Co. variations in the key of E. )-4 time throughout. Exc~lI~nt for 8ee ullful Nhlhl. 8a.rc:a.roU. J. O!f8nbruh- .!Ir,.. //. F. O(hU, K teachi ng or cOl'cert. . Full Mandolin O rchestra '2.00 Woodland ra"k W a lu:es Tho • . Glyn n., M Sym~~~~~g~r~)~e~t:~;~f~~i~~~:f~~~c~:;oreb~l~(~f:! ~~~d'~o~~s~ Ba njo Solo S. 40 beautiful compositions by a master of m~lody. Will undoubtedly One of G lynn's most fa mous compositions. C h aract~ ri stic be used by ~v~ r y progr~ssive mandolin orchestra as it mak~~ a throughout. An excellent number ror teaching or co n c~rt work. Extr~mely melodious. Keys of A a nd D. ~l~~i!~.1 c~~e~~~U~g~re:~toa~:I~a~~W fnnuth~fir~i l ~~i~~~e~,f~h extrem~ly effectiv~ cou nt~r strains and an in teresting accompani OUITAR. ment in t h ~ piano and other instruments . Key of D. 6-8 time. H. F. Odell &: Co. Lewis A. Williams. Con.lell.lloa Marcb C. 1". lIUydUl AI Glb.on Etnln.nc:. L . •4. !V'illiaI1U-Ar,.. B . II. Oddt, At Guitar Solo $ .)0 Full Ma ndolin Orch~stra '3.70 A distinctly different waltz in th~ k~ys of 0, G, C andAminor. and ~~rodrO~~,~:Oddn~~~lfo~x~~I~il~~ r~i~~li.ng number. Bright 6-8 introduction with easy cadenza for first mandoll n or flute. Bril liant final~, (ull of rich harmony. T he different waltz strains E'f'enlnll In Medrld .IIlf,.erL ("!rend. H indud~ many transitions of keys, beautiful swett m~lodies, ~xc~ lI~nt parts for a ll instrumen ts, especially effective coun t~r strains in the An ?s~~lr: l ~nte r es~ng mazurka. Key of G' i~~oughout. Excellent for pupils just beginning to play pieces. Has a tremen ~~~~~~ya~~~~I~mt!~~~r ~!~d~~~n!;;ch!~~~ (or the flute. An dous sale among teachers. Thematic catalog of Banjo Club and Mandolin Orchestra Mu sic containing mlnature solo parts of our FREE lalest publications. PERCY M. JAQUES PHS. CO .. Jacksonville, Fla. SPECIAL OFFER to Mandolin and Guitar Teachers and Players C THE ... EL, ... ANg ...... GE .. ...OL.IO c FOLIO NO. u . HAVE YOU HEARD FOLIO NO. IU. Ist Marulolln .. . . IOe " tMandolln . . . • 1Oe 50 MANDOLIN FOLIOS FORIO 2nd Mandolin ... 10e 2nd Mandoli n . •. 1Oe Guitar ...... IOe GuItar •••• • •• t oe Four collections containing the pasl two Seasons PI.no ...... t6<: "WEDDING BELLS" Plano • •• • ..• lk popular song successes arranged for ,.OLIO NO. IV. B'II .... P. '''hI a" J. Frc; HIli. J!'OLIO NO. v. 1St a nd 2nd Mandolin, Guita r and Plano. tsI Mandolln •••. toe IItMandolln .••. t oe 2nd Mandolin .•. tOc Our New Big Hit_ !nd Mandolin ... toe Guitar . . . •••• tOe Guitar ••...•. t Oe ALL BR.IGHT AND NEW STUFF Plano . . . . • • t~e Be Sure to Try It. Plano •. .. . . 1k SPECIAL ~ATE..s TO DEALE~S IN QUAN11TIES HELF and HAGER co. No. 1418 Broadway, New York, N. Y. THE AIlIIIUUUAN G11I1.l) of Vuea ... H a r p Guitars .. I F J T"S OU R P UBLlG.lTJOJ{ 1'l"8 GOOD " Any ,.1It' .. nJ an) dmOIl Il! of ,"r ;o 8 .,~, .. , f:cce n trh: Two Sing le and Dpuble Actio n H , rps . Ste p . ~~;:~~. WE BANJOISTICUS P.", £"0 Violin Mode l M a ndo lins T h~ 1 h~' ~ d carrylnl: I. n.. " YOUR BUT INTERltSTI WILL. 8 £ IERVED BV MH 'nON,NO CR ESCEN DO WHEN WRITING ADVERTISERS .6 The Cre.scendo The Crescendo I. _comptlloi a It.t of tbe Mandolin and BaoJo Orcbeatra. of tbe world. Crescendo reader. and leader. LINER AD. DEPT. of orchealra. aod club. will confer a favor by .endll'll! ua name. of orllanl ••,lona , wblcb will be p\.lbU.bed 10 tbl. lI.t from time Advertisements inserted here for 25 cts. a line. to time. U •• blaok. each insertion. Cash with order. Not less than 3 8'h. CR.!:.SCENDO. 165 Tremont St .• 80aton. M ..... U. S. A. lines nor more than 8 lines accepted. NO, 1 WHITE ,."VOI E BANJO ..lth plush lind Perfection cue. 10 1-. X 19 'tame of Orchestra... [ Brl1l1l1nIIO", . S40.00. Director ...... Brllll~r!:~o;e::~~::) 'i.!: . B~j~r:!~\V I~~ ~~~,::~~~:~s~.~s~i l O~II:' 'A~~~' Street .. City or Town ...... Stute ... . How m any rrwm1-bers [ltstrul11-ents .. Names and addresses of tnem~rs mill), be $till on up.rlllie p.~r. sb.tlna 1n$lfUlll t IllSpllllytd. Lyric Quintette. Mrs. Alma. Nash. Director. 202 W. 2nd St., Maryville, Mo. 5 mem~rs. Mandolin, banjo, harp guitar, mandola, eornet, piano, drums; double bass. Morrl. Park MandoUnOrcbe.tra. E. I. Rogers, Director, 1}12 Vine St.t Richmond Hill, L· J. 10 members. Mandolin . man dola, mando-cello, cello, guitar. piano and violin. YOUR BUT IN rBRESTI WlLL BE SERVED BY MENTIONlNO THB CRESCENDO WHEN WRITING ADVBRTlIBRa T he Cre 5cendo 17 ~~==~==~~~~~ E======~ ARRANGING, COPYING AND TRANSPOSING M V II invite Mandolin teachers to write for particulars r egard ~ .1 .0 9 t o r l le m onth .. lIublocr lp l loll. 6 1 ee n t !! t o r 6 1II01lIh, . jng thei r New Issues for Mandolin O rchestra. Mend 10 cent·1I t o r "" eclme n CO il, •• 93 Cou rt St., Bost on, Mass. JOHN A L VEY TURN ER, t''')~'~t~.·gN ~l. :r,; The publisher 01 Ihe I.rl:tsl EUropeln C.IJllI01: of Music lor Ihe abov, In · Sirullle nl5 MBy .... eUnJ you. US l l: r.:llllslln(!poSl ' rtt. SUBSCRlIl TIO NS RE<...E IVED AT "CRESCE NDO" O FHCE N q~:::~J~: itSD ,~ e;:·I~ean.n.:~ I~~ea :~d: l~n.lic ho! lt~nj~stl~~ Il~ ~~; , wln f . A food II vrly 6 8 movemenl and II', 11:0i ni 10 kO bli'. " Ohio Ael.!". whic h 1$ to be playr.1 by lubs Ihis CO ... lnk Ruon. I s no .. 10 be BAltNES & ~l U LLIN S ' S GIII I"" ace. ", n4 Plano ace. IIl la t aC(. Grand , Theoretical, P ra ctical, {Lnrl J lltLSlralecl I hlv. a new Sl,:nt whlch you should lIy. Three sam ple S lr'nu for Bllnjo. lsi. 2nd and ltd ••alle J upon rKelll1 of !!6t;. No sl.mps. T his New Imper'al S trlnr I, d . ... S' proof 'nd I, h.,.:I to ..til r 011 1. Don'I 1.11 10 Ify Ihem. $ 1.60 by . S h I (THI RD the bundle. B anJo C 00 EDITION) HARRY S. S IX PUB. CO., New Rochelle,N. Y. B)' S. BOWLEY BARNES .nJ " lBERT E. MUlli NS. T his II a comrlelt Ireallse on lhe ZlIhu· lbnjo. f.om lhe m051 eluunlu)' p.IIrts of hi slllJylo Ihe "051 .Jvlnced. No olher work pu'",nJs 10 Ira'ine all Ihe Il: fOunJ Il:Ofte over her ..... nd Ihe fUlure' ()f Ihe "'ork .re lu IhorllulCh · O RDE R Music and Studies for the C oming Season now and nen .nJ 115 ll:,aJulleJ 5y5le. 0' ue.c1s-es. The rhOI()o(UIS ",.e .:II ' n lu.e 0' en joy spe Wa tc h oul lOr Ge o . Durkee'. gr eat . rticlea I In la te r ' •• ue. o r "Cres c e n d o" W hy not Publish t hat rIusical Composit ion ? Our expert will arrange music and revi~e Mss. \\ hen necessary. We will make plates and tille, print. ~enJ proof io~~.c oWulilg!::~ti~~~:r~r~: IS~eqC~~r.le t e re:ldy for sale. Prices JOHN WORLEY co. 40·48 Sta n hope St. Bost on , M ass. T HOMPS O N R E PORTING CO .. 'Publlsh . ,.s j HE BOOK FOR ORCHESTRAS AND CLUBS 10 T remo n t S t •• 1I ..... l o n . a l ...... Book of Credit Ratin gs and Di rectory of the MusIC Trades for eq uatrr~r~~~~l f~r~l~ i V~~t:~~e~~~~t~~ c~ ~ ~~~ku~~~o Il~ the United States and Canada ~iac~~ t ~ c:.n ~o ~:~~~ IITe~~:=~ ~~d !taui~~r ce~~~~ mM :~d~~~ i~ We co llect C laIms in the UnltoJ States and Canada -- ~ - ~efl~n~ b l ~~~~!l4~~~ ~~~ ~0 40 cents; Flute Obligato 40 cents; . 0 per cen tdl. eOllot I' lOU " n e h~" t bl. ad. w h en o rde r _ I.nrr 01' menUon the " Cr.. t':tI ndo.' · C OMPLeT E CO}lr ENrS As an Experiment An,eI'a Serenadl Paloma,La AVIMarla Piuk. to (" Sylvia" BllkU W e have just published in the U. S. notation, Brid I IChoNe ( Lo~n lf'la ) P\::IIial'10.nOl complete with piano accompa niment, 24 of Cl vlUeria Rlletlaon. (lntennu.ao) Slntla, o {S pinlab Wall_) C.n·etltl, IMcn:t, 11M (lntermcuo) our ht.'st selling Ba njo Solos, incl ud ing 14 of CIn.qlllDtelaI L. ~renl&l Coli." W&d le)' krenldc 8adtne Cradll Soa , S lm pl .... v ..'" Vess Ossman's Hits £Ddl aQt~t ( Walu... ) Sia, 6ml... . Siumba' (SP:fta..k) Lolndll S al Sonill. Le ( S~a~ Mlrdl) Lov,', J)ra.m aft.,O). Ball 8pria,80a, (Arranged by himself and fi ngered and positionoJ.) Others by Lllela oil LamlDCmloor (Su tc'tle) TUllma.1 Md od)' ill F Val.. BleIIl J OE MORLEY and EMILE GRIMSHAW M I( 1I0 11 (Bau' lICtt> W ooInr (Val_ Intlrmuml Palma, The The most Popular English Composers of the day Hinds, Noble (.J Eldredge t::.~ I:; CLIFFORD ESSEX CO. l5A Or atton St., 80nd St., L ondon , En g l.nd 31.33-35 We.t 15 th St. N ew York C it), AN D MENTION "CRESCENDO" JOT DOWN THE WORD " CR&8CKNDO' WHE N WRITING TO ADVHTIS£RS . 8 . The Cr ~ce ndo Why YOU Should Subscribe to ohe CRESCENDO The Leading Mandolin, Guitar and 'Banjo Monthly Magaz ine 'BECAUJ'E IT CONTAINJ' - $2.00 worth of New and Standard Music each month ($20 worth a year) selected ' not from one but from variolls catalogs, such as Oli ver Ditson Co" White-Smith Co., H. F. Odell '& Co .. Cundy.Bettoney Co., Gibson Co., Jaques Co., Geo. Stannard, J. C. Folwell, etl.":. , or, in other words, the best mus ic in the world , the fin est articles ever published in a M, G & B magazine by such men as: Boblin, Durkee, Williams, O ettinger, de Vekey, Bi ckford, ~ollin so n, Pettine, Kric k, Armstrong. Rowden, Derwin, Hartnett, Del ano, Choupourian, Laga tree, etc., etc.-Round Table-Questions and Answers-Guild News-Photos of Clubs and Players Music Revit'w-Ad vice Progra ms and ma ny other features. The subscription Pri ce is $ 1. 00 per year ( 12 months) U. S. ; $1.25 Canada; $ 1.50 Foreign; and we offer the followi ng FOR OBT A ININO Valuable Premiums SUBSCRIPTIONS These premiums are selected with much care, many of them are bought directly from the manufacturers. Any premium not found to be as represented will be replaced or money refu nded. Subscriptions for articles calling for more than one subscription ma y be sent in a ll togt"ther or one a t a time, only in the latter case notify us which premium you are trying for and a reco rd will be kept unti l the necessm y subsc riptions are sent in, then the pre mium will be forwarded. Premiums marked "by express" are sent at customers expenset all others are postpaid. Anyone sending a clubbing subscription with some other m Any p iece or muaic liated at 50 ct•• or Ie • • ror any In atr ume n t rrom a ny catalog For One Subscription and 25 cts. extra: Set Best Gut and Wound Guitar 1 Chromati c Tuning Pipe. Leather Stri ng Case. Strings. Music Foli o, Sheet Music Size ( by 5000 Musical Terms Dictionary ( by Set Best Mando·cello Strings. express), express. Best Iron Music Stand (by express). Folio, Duets for Mand, & Piano. Odell Mandolin Method, Vol. 1, 2 Folio, 24 Guitar Solos...... Guitar. 1 or 3. For Two Subscriptions or One Subscription a nd 50 cts. ext ra: Best Rogers Banjo He-ad. ' 1F olio, Mi nstrel Songs, Banjo acc. Folio, College Songs, Banjo acc. L. C. Elson's Music Dictionary (by Fi ne Leather Music Roll. Nickle Plated Music Stand (by ex. ) express), t One Doz. Odell Mand. Picks. A or C Notati on Banjo Method. Folio, 30 pieces, Santisteban (Gui.) Folio, Classical Col., Mand.& Piano. Leather Music Stand Case. If Minstrel Songs, Guitar ace, Folio, College Songs, Guitar ace. 1 Doz. Wright Mandolin Picks. SEE NEXT PAGE The Crescendo 19 which anyone may obtain by securing a- few PREMIUMS Subscriptions to the CRESCENDO: For Nine Subscriptions or Seven Subscriptions and 7SC. ex tra . METRONOMES MUSIC SAG. A music studio or home with- out a Metronome is like a rail road station without :t clock . Learu to play music In time, obtain the .:orrect tem po for eac h piece you play by using a Met ..nome. Metronome without bell for Five Subscriptions or Three Subscriptions and 75 c. extra. Metronome with bell for Seven SUDscnptions or Five Subscriptions and 75 c. extra. Sent by ex press. For Two Subscript ions or O ne Vest Pocket Electric Flash Light. lleavy ~Ie Luther, hnnelthl"lI. tuthH bound edlt'e. dura ble 5tr ap5 a nd C.n t-e utrleJ in pockel. A buc k In. 5trO nlt' ttl t ~er handle. S t-HI . u5lc s b e. I.menu for urrylnlt' Mye,..' copln 0 1 ", u ~lc "[Iltou t rolUnr. ,0.11 protreulye leachers a nJ leaders p,enureon MlIom rloJuc e~ ave.)' use Ihem, Stnl by u rreu _,______brilr:'h l,penelalinK !llthl U»lutlo finJ lhtke)' hote on aJ;ukn'l:til or MIRROSCOPE. to IIl:hl YOUI w:r.y up s~lr~ when Ih, This CleY.r machln. projeCIJ plclll,. post u rds. n _sp~pe ' dlrrlns;s or I:'Si50UI,o.lohunllnJ. .,k c".n plc lur n h om t-oo ks u po" a scrnn (beJ !Iohntlrr .... tly e niarred, accurlltely r ro· etl, It·) ve.) u)l'llIt.lnJ )"u c;an d uclnlr:' Ih.e " a tural tlilorti . h"ve IQtaot lu n New ""U",), Ii ~. T o O ~" l e·- H ll n lt' upasheel.tlghl the .posl r.~i1i. I:Im por allach hose 10 Ir:'ts o r elec tric Fl lt ht. drop In Ihe 1'051 ClrJ. T ha t's an. Rep,oJuculhe (' nllnlc.rd. For Four Subsc riptions or T h ree Subscriptiu ns H.\,en'l )'011 ..ome prell)' 11051 c;a rJ, a nd So (. ex tra . ),ou woulJ like tu seeenln rs:ed, Mills Adjustable Music Stand. ~ I .. ehl .. e IIlle d l orAce l y le n efor SiJlSubS(nplionsor Hold s 0I 1l )' size of music or ~oks withou t clip$. No Four Subs;.crll"ions leVers or thumb sc rews. Nick le PI"ted. A wonderful and OOc exit •• Stnl by '~r r us 10 be S tand . By exprC3S. paid by lecelver, Machi.". filled lor Ga. or · ~lectriclt:r. II fl . boN o. wile for Nine S uburlptions o r 5[11 S ubscripiions and St.:t6 ulfa. By u rrus, -"'~,. ~ , ZTh_. ,-'"-,., ••, ,' MANDOLINS. For Thirty Subscriptions or T wenty Subscriptions and I S extra, your choice of any O ne .;,f these: G IBSON. Maple rim and back , spruce top. chern: neck. ebony lingerboard , 20 frets , patent mac hine head, e.x tension string holder. DITSON EMP II ~E . Rosewood, 19 ri bs, spruce top, 20 frets, covered machi ne head, ebony fingerboard, ebonized net.:k , nickel tailple Accurate Pnctlcal :, :1,,•• 1 Handy ., . Durable Simple • I i ~ 1 Olves Totals Quicker Than You Can Writf'. up )'~O:~~:~u~~~~::~~ll~k:~d 5~::r. urrled In pocktt. Ju51 th. thin!: 10 add We recommend II and ... e It con.ta ntl., In o n roUlc e . No. 4-IAli plcluru fw Nine Subecrtplloa.. film Pack \104 ell. Ulnt For Nine Subscriptions or Seven PI'-£'-tO FOLDING Subscriptions a nd 75 cents extra. a fine CAME"AS Fo r Nine Subscrlp· CUCKOO CLOCK tlons: for you r studio or home. Premo.lle No. 1 J :ni~~. a~M:~~r~~s ·t~~~~ Choice of Iwo sty its, hanging (see AUlom.tl c Shullu lime. cut) or nat base for shelr or desk lOp. bulb or snap-soot, 2 1-1 lIS I· .. plChITe . FUll! p.ck Made or three layers oj wood, handsome <4Oe,llIlr •. Byupren. ly carved. Clocks art madt by hand In For Flrteen Sub the Black Forest , Schwar1.wald. Gtr· scriptions: many, and are the best madt. Call a nd Film Premo No. I. strike every half hour. 16 in, high. 1I1.~ .." I'''pl(tures. Rapid Recllllnur Leu. srns::l, S 1-2 in. wide. 5 in. dial. By txprtss. valvt!. au tomatl, shuner. FltmSl.cki3c.ulr•. By uprUJ, For Eighteen Subscriptions: For Eight Subscriptions or Six Subscriptions and 75 cts. A Pocket Premo C,III·" x . , .". RaCk and Pinion for Iharp tocuslnR" extra, thl. very u.elul Alms or pl.ln. Rapid reelllln.. , Lens. AUlo • • hunu. By tIIprn•. 26. PIECE. SILVER TABLE SET. itT. °RI:I !:::d ~!~':'Il:°f~~: l R:!!ts~~~: ~~~:~UBY ~~p~~}5~ n5 . AuIO. 5hul- For Six Subscriptions or Four Subscriptions and 75 ctnts extra _1 • VEST POCKET EXPO CAMERA All loaded for 25 Picturts. Loads In daylight. Wtighs only 3 oz. Used by reporters of many ltading ntwspaptrs. Makes plct ures~sizt of cut. T ime or snap shot. You can take pic· tures on t he sly and n('l one will k now It. Useful . Lots of fun . . Extra film s 35 cts. for 25 exposures. For Three Subscriptions or Two Subscriptions a nd HC. extra. m"i" 2 ...... ; BLUE ISLE SILVER. FILIGREE FOUNTAIN PEN. e KnlvfI, e Forkl. e Tea Spoons, e Teble Sroonl, 1 Bllller Kn"e, 1 Silru 11IV~ !r:I~~lfi~~~~4:'~hnH~~:eS~~c~tll~u:~!tS~II::'GO~hI~:.el~~~~:~p:: Shill. Slerllnr Sliver dulRn. huvlly ,liVer pl,ted. In Fen,y Gr•• n Cloth boll ",llh fille r 1n4 dlffCllonl. Box,.,lthlideQddrewer, pillf lined end plenforuchpl.ce. Senlby •• "'... . 165 TREMONT STREET, BOSTON, MASS. MAGAZINE BARGAIN·S I Th, f,,,,.,,. ' ~1':,~~~~~ ? ~'I'.~\':~:~ ~:.';':!~11~~ :,'~ :J~';'I'.~:~:' ,J.h~ I~':,-::,:~~~~;!;~,~: : . ' :,1'r..l~: ~~ , ?" .'~ :,:~ ,: ' l!' ll ~\:;'.. ;: ~~!.~ ""_Wo.. ,,·,,, I The Crescendo and Cosmopolitan or American or Success- Value $2.00 for $1.65 SPECIAL- OFFER CRESCENDO Monthly, One Year, $1.00 60TH FOR ETUDE} or Monthly, One Year, 1.50 MUSICIAN $2.50 $2.00 MUSICAL PUBLICATIONS The Crescendo and any One of the following Mus ical Magazines, each for One Year, for the amount s h own in the " Our Price" column: 1{~ ;- ill . r 0 .. , WtlCula , 0 .. , Price '-'Ice " rice I'deC' Domi nant ...... f2.00 $1.85 Mu!'ic Ne\\'~ ~:: .oo $ 1.7S Metronome ... 2 .00 1. 75 Mu sk TraJes , .00 2.g0 Mu sical America ).00 2.60 New M usic Re v iew L SO Musical Courier .. 6.00 5.00 = O rgan M;' g:lzi ne '.00 I.g0 Mu sical Leader and COlh:ert Goer 3·,)0 2.60 School Music 1. ; 0 1.40 Musical Observer 1.75 Violin WorlJ 1. , 0 1.4S B. M. G. (London, EnglanJ) 2.:2, 2.00 Key Note::; ILonJon, EnglanJJ 2.2 ; 2.00 STANDARD MACAZINES The Crescendo and any One of the fo llowing selected li s t of standard Magazines. each for One Year. for the amount shown in the "Our Price" column: W'llln O.r Wttull! IIquinr Ou, "rlct Prlu (t,ler P.ltt I'rln 1',ler Alnslu s MlIlo!u lne . St.1.IU f. r '2.35 II nu".. II .. " u.itul ... ! J.~" I"r .3 . 25 10;, ,,,,, .. I H.· ... '".. I' ... ' n :- ~' ' "' •• " 1 1.65 Amedc:an Ruy ...... :! .fltI ·· 1.65 II"u ... k.. .. I' ... I ::, 1.60 i"'ruL.. '-- ,1"" '0' \\',n,hl, ,. ~, 3 .80 Am. rlun IkmfS & GlIrJens 4 00 3.60 ilnu"ew,t .. 1 :1-', 1.25 1" 'I'ul ....\I ~!:. " ;nl· ~ r... 2 .20 AmeriCAn MothtrhooJ ...... :!III) " 1.15 lI umlln Lit.. . :I.'M' ·· 1.65 ""m.,, ' I'J,,, .n .." 2.00 Amtrl':;'1n POUI1l)' J uurnal I r.u 1.30 l llu ) u ,, '~J I... nd " " Nt·". ; ,_, 6 .45 1'1'1"'.'" I'l.ln. .~.,.. 1.65 AlIlInll .:; Monlhl), ...... r.oo ·· " .25 lnJ .. ~ nJt· n. :J ' ~ I " 2.35 I'u"" 5 . 10 Ul3Ck CM .. •.. 2.00 " 1.65 Inlt'rn .• ,i .... ,"'IS'uJI .. 525 == 1"" 11\ .",, ... H ~ .• J,·, • ,., 2 .3 5 illue I\(>o le :I toll 2.25 JuJ ~.. _. ... 5.25 II ... "''''Hon 2 .35 lI"htm l ~n .. :I.toll ·· 2 .00 I\ r n mlt " 'uJi" .. r, 'M' 4.50 Il .. J Il""k : .~, 2 .25 Uoole leuptr.. :!tlU 1.65 I.IIJI" ,·W" dJ I r.II 1.35 H .· U ~I'I .. ,'""IU' J ',u'n~1 1 :. , 1.35 Uoolemlln...... :IJIII 3 . 10 I t!~ tI .. ·) W .."kl), I; ' ~ I " 5 00 H.. ,("",· ,,' \-l ,""'''''' 3.00 BoMon C ookl nl: School.. :! ' ~ I" 1.65 lIf...... 5.35 I~ ". : J .. , I'"' 2.35 H.etJ t> r·s Due lte .... :1.00 " 2.00 l,ppln(".t·" M"!:,,.!n.. :, :~ , 2 75 <;, , .. n.l " -I.n,,·," .' n I ,~, 3.60 BurT Mdnlosh Monlhly ... 4.l1l.I " 3.00 l;II, .. I ..l k )15"1.·,,,) n .. " '1 '''-''' 1.65 ';.io'n"", -I. ",.. , & ~ LLI' 6.80 Centu.), ..., ,,1o!11 11n t...... 11 .00" 4 .80 Mt l... I1' ~ M .• Io!. & .... '.'·'n I !'" 1.40 .... ,'II·n.·'· ,\ .,~."I".. I '", 3 . 65 ChltJ.tn·s Mal/:.I.rlnt ...... ::.00" 1.65 M cClu . .. ·~ M nc .. ,lnt :!"'. 1.90 <;", ...... ·1 2 .35 CII.blbn lIe.lIlJ (N. Y.) ... ·1.M " 2 . 10 Me'ropnlio;1n \' ; , !:, ' "' n ~ '! ~ II 1.65 ~ ",hh·. " ~~ -" I n ,, .: r,u 220 (uunny Ule In Am"rl clII .. (1.00 4 .00 M v,lt' ,n I'rI ~C tll . 1 1 M" 1.35 .... , ~ """I... I I.' 3.80 C raltsmlln ...... 4 00" 3 , 35 MOlh.. , ·s M"!::I"n .. I t~, 1.35 ""If .• nJ \\ ,!:.lzln.. .' r~1 2 40 Currenl U U·TlIlure ...... 4 .00 " 3 .25 Mo",.lto;l' 2.60 ""u l'u"'~n t ,·,· 1'.' 2 .35 si ntr...... 1.1\0.. 1.35 Na'ion 11_' 3 . 75 'unJ.) ..... h.",' T ·m.·~ ! ,., 1.80 2.011 1. 65 NIt"on.11 Il o m.. J"u.n.,1 I W 1.25 " un,,·, '\\.,,:.'"n.. : '~I 1.65 .. 4.00" 3 .50 N~' ;o n " l M"c,.,;n .. ~ :~, 2.00 .:, ~ .... '" :.,.J 2 .80 ...... 400 .. 3.65 :ton" 1.65 T .• t-I~ T .• lk -':'.' 1.65 • :1.00 1. 65 ~~ ~' i~!~~ (~" Y' .)l";:: ~ hl " n s I W 1.35 T ... I•• , T, ,,''''~oJ \1 "I:.OIln#!W 2.00 NM ",,,I I n~' .u (!o, . T .. chn".11 \\' .... J .\I d~-"in .. :! .'~ ' 200 ~ : ~~ .. ~:~~ NonhAm.. rI(lI n R .... lt> w ... l. ::: !.~g T h,· .... ~ \b;:.l l ' nC u., 3 .80 Forum ... :I.IMl " 2.35 OUIJ <><>t I ljf .. T ",I~'h'''' :,.~, 2 .35 GaTJen ... ""I/:uine...... 2.1M)" 1.65 OUlln1: M.l I: ,uln.. ~ :i: ~j~ ~ T ••, ..·I .'tI .,:.,""" ... ~ '." 2 00 Good H oustk~pi n " ...... 2.'tU.. 1 65 Oul1n SAY " I NOTICED YOUR AD. IN CRESCEN DO" THE PROGRESS AND PROSPERITY LINES Surest and Safest to Fo 110 bJ. tion~ ; ~~~eF~t~ea~~~ ~ ifrfi~ d~~:,~t~~~ ~ ~~d ~'!i...~a=.;~~r~;l~e:~sa~~1i:b'I~~ to build upon aso lid founda· ·~t~~~~,~~:~:~~~OS~K~ e ~ n e teaguel~~~ r~~d ~~~ of thei r best ma ndolins. ; am return ing them as I Do Not like thei r long sca le and Large Strings." O. Acker. of Wllkes·Barre, Pa .• whom you all know, writes: " The No.2 Vega Mandoli n that you sent me Is all that an Artist could desi re. So casy of execution, Sweet yet Strong Tone as a L .ade r should be. It Is the Finest Mandolin J have ever seen, True in every respect-Remarkable!' The Old fields, one of the best paid acts always busy, w rites us f rom Montana: " We have now used the NO.7 Whyte L;ydle Banjo over a year and the longer we handle ' it the more infa tuated we are with Its Tone nnd Durability. You can start right away and make us another li ke the onr we have." . Wm . Foden, of St. Louis. Mo., and Geo. C. Krick. of .Philadelphia. Pa., Guitar Soloists of National Re pute, use a Six (6 String G uitar to show the capabil ities of th is beautlful in strumen t. As you have only one life to live here. START RIGHT. We have the largest va riety of styles and prices to choose from . ... ~~i:t d~~;:=s~li~ ~n d~~ ~1I?~;lf;~I\ ~~k~I~~ s~r a\~ ~~~ f~+:~:~~ftiF~~ous Arth,ts. ohe VEGA COMPANY ohe A . C. FAIRBANKS COMPANY 62 Sudbury Street, 80S ton, Mas •• r v v v v 'v v v v v v v v • v v v v v v v v v v v •• v v v v v •••• A TREMENDOUS SENSATION ~ars;:,~ ~e:~~~rl:~!~~;~~!.: ~r o~ee or~tl!c~~s~ entranci ngly bea uti ful musical compositions ever written . r ,.om TALE S OF HOFFMAN 8ARCAROLLE Beautiful Night 'By J . OFFE N&ACH swee?ffee~t~: ~~ln~a~ e~~y ~he:tt~r\e~ro~~le ~r:anr~~gC~:~~,~~r~r~:!~e f~' yJu~lsm~~d.beb ~~ai n~~~c ~l~rm~:tsabeirtl!u~~~mrr~'~~o~s~s~ wonderf ul masterpieces of qlelody. It is all in the fi rst position. It Is simply Immrnse for teaching. It wib be the sensation of the ~:~~ fX ~ ~h~n:~~nu£~c:ses~fa~h~~~r~u!~ r ili: t, ~~ha~!~ eO~rr~~~~~~.t'Ne:' t~i:r k,e l ~li~u~~~~~~ioang!~~t :~d1:~ini.S t~~!~~ fa mous ' Pop' Concerts in Boston the Boston Symphony Orchestra made a tremendous hit with this number. receiving two and three encores night ly. REGULAR 'PRICES l .. t Ma ndolin .30 Mando-Cello .20 2nd .. .2" Flute .20 First Edition Your Orchestra 3,d .. .20 Cello .20 Tenor Mandola .20 Oultar .20 exhausted I Banjo ObbJlJrato .20 wllf want it A or C NOTATION. in three days Plano acc. .40 DISCOU NT Yo OFF THES E PR IC ES: N. F . Odell a rran ~e d it from the o riginal for eign score. You can get it at regular prices or for a lmo •• noth ing by subscribing to ou r Ne w I ••u e • • Send for blank, which explains. Wr ite u . now. at once, Watch for "THE METEOR." MARCH by W. M. Rice Pool Your Orden and send them to us. We ca n supply you at short notice with any mu sic from the follow ing catalogs: Oliver DUson Co .• White-Smith Co., G ibson Co .• C undy-Bettoney Co., Lew is A. Williams. O. Acker, Wm . C. Stahl or any other catalog. Much of the music in th e above catalogs is arranged by H. F. Odel l. We c a n give you libe r a l dtacount • • Stock Up I Music on Selection S tock Up I We will send 2S or ~o copies selected fro m our catalogs of sao pieces to bone fide teachers "On Selection. It An exce llent way to look over our publications. Teachers unknow n to us must send references or a deposi t. Let us .send you our nus lc and S trine Cata loc . Yo u say where. H. F. ODELL ~ CO.. . 165 Tremont St.. 80S ton, Ma••• IT IS POR YOU R INTEREST TO ..EN TION CRESCENDO WHEN W RITING ADVE RTISERS CATHEDRAL BELLS. II r i . = f' = = =. f' ,po. 0 P." i . r r i ,ll~ Ii i I~ I! · af' a',1 D :f u ! lIAR i 10 Po•••.. .•• T ············" :3. . -iiIl' P o•• 'nffl'~u \ l j:F~ I,: II~ rc~'~':~ nt. -- r - -~ . ----- ~ r II fllt MANDOLIN. G5010 ~ 6-M . O . III SOBRE LA PLAZA. (ON THE PLAZA.) GUITAR acc. DANZA. T. H . ROLLINSON. An. by H. F. Odell. Moderato e"Pr~ I'.... lJS ~ f 'i 11 ft' 9 I JtV ?J 11pJ?V f) I i ;1 H I &Pfl i) I n' i) I A1 i) I A~ #) I TV ~ ~ I &: j J ~ IIV' f) I P 'ttl ~ra 0 I t! U I .. Piu animato. 1 &pia 'fiP9 i*'f'g I j' f~' ~JMq I ~frl PJ I pi q I Pi , I foi U I Q bJ &Q i) 14 ttm flniH) [}pi) I ~I >- f# ., '>->- pa .ff >- >->- &fi , I IJ4"1 1 61 i) I il' IN If' t I (0) Oli.. r Diuon Co.,...,. Boston. IV !l'o Xi,. I1AACI IJ;DAIDI18 . JONGLERIE SCHOTTISCHE. H.F. ODELL. 2BANoJOS. BPo,. 11 .. 11 --.--: . : ~ ... I ~ ~ ~ - - - - I'; I - - 2Po,. ' 1IJ1 II I I I I I I I I e.! , :z ~ • 71 . 71 . -:a-:~. .. 1I .. II.ffi . .~ I - - ~ ~. ~ Ie.!. - •• - I -I IIJlII I -If t.1 71 .. :# ~ • :; ~ ~It 1i2 I . " .. II - - ~- ..- Ie ... . .~ 3 ..• .. 4~ 2~O8. 2~o •. -~ ~ p ~ " .. i ~ ~ I JW -''If"' I I 'V Ti I ~ .. IIJ1Il --:r-: ~ -- ~ ~ BPo•. ~ - ftJ lo0oi - -.- """'! I I -I 11 .. 11"" ~ .- e.! ... 3 • •• .. .* •• I ~ 5FO'~ Illlil 1 ~ - I 1 1 !U r .... r ---== -.. Illlil P 1 1 I 1 1 1 1 1 I" . ~ U :; 7 ...... :; ~ '{o,. 'io,. '!FO!-. ~ ~ 3Fo,. 3Fo~1. ~ \,:1111 : 1 1 '1 Df'e1lC. --== 3Fo • . - 3Fo •. rit. 1'11111 1 1 ~ ~ . I tJ ,. ~1I. 1 1 tq. 1 I I 3"1 1 1 VI Respectfully dedicat~d to J.J. Derwin, Waterbury, Conn. UNITED NATION. 1st MANDOLIN .March & Two Step. or W.!'.! . C. STAHL. VIOLIN. II 112:> I '~LJ ))1;3J J JJ Ir Dr ~ IJ#JJtU I; grrnljBd)n~Q TRIO. ~ j.J#l;.J~IFrlnmwlr DJ lH @Jd )11J. J lJlr' r DIr n p-f J . ~ , 'i r F#r DOJ 'i Iw t§ 14'l' t t,1C J\P 'i 'i l'Ift ~ 'i''i i?w I , a",tlU', r t 41', , t 2 t ct I r )J ~ 'i "I r J) a 'i Cf let j r j F Ino; #3 ijH ~ _ C,'6.C', i (Jopyd/fhl, MOM/X, by W'!'!. C • STAHL. D.S.41 r.-. , Interftaliona l COf'f-r.igAt . UNITED NATION. VlI March & Two Step. GUITAR. w!!!. . c. STAHL VIII GUITAR SOLO Copyri«ht MCMIX by Oeo. Stannard , TrentoD, N.J.